Page 305 - Communication Processes Volume 3 Communication Culture and Confrontation

280 Hema Rairkar

A new enthusiasm dawned again with the initial successes in front
of important village gatherings or in the public squares of big towns.
This enthusiasm and their expectations grew still more when the
possibility of a representation in Bombay, at the time of a seminar on
folk traditions (which did not take place), was envisaged. An expert
imparting dramatic training to amateur groups in Pune city came to
see them once; he knew how to revive them in their effort for perfection
by offering practical suggestions appropriate to their actual level of
performance. Their sense of theatrical expression improved a little
and they pursued their efforts and their progress in their monthly
meetings.
The participation was meaningful with regard to the reflection that
was required regarding the main reasons of desertion that needed to
be shown and played out. For example, why do women commit suicide
by setting themselves on fire? Two main reasons were singled out: out
of resentment against the unjustified suspicions of the in-law family
and against the harassment that women are subjected to because of
delayed payment of dowry. Thus, the dowry theme. Polygamy was
chosen because of the frequency and ease with which this practice
spreads in the villages of the group members where men take a second
wife with more and more impunity, simply sending the first one back
and neglecting or refusing to divorce her. The importance of the
phenomenon prompted the group to choose this theme.
Experience made them change the beginning of the representation.
Instead of beginning with a suicide by burning, the group chose a
song that enabled them to attract spectators and gave them time to
gather. The other songs accompanying the dances in circles were also
modified with a view to allowing the actors to prepare themselves for
the next entry.
Often in this kind of theatrical intervention it is the women who
ordinarily play men’s roles. However, as one of the women argued,
‘We, both men and women, are all used to holding meetings, to reflect
and act together. What is wrong if men’s roles are [indeed] played by
male animators?’ A special mental effort was necessary to conquer the
apprehension which for this reason marked the first shows with mixed
performance. Once that was overcome, another much more serious
fear remained to be conquered: exhibiting oneself in one’s own village,
in front of known people. ‘What will they say?’ Getting rid of this
reticence remains a slow and progressive process.